The Jewish Population of Tennessee

Author(s):  
Laurence Maslon

At the beginning of the twentieth century, the first way that the imprimatur of Broadway reached consumers was through the immense distribution of colorful and tuneful sheet music. Early music publishers learned quickly that associating a song with a Broadway show such as the Ziegfeld Follies, Broadway personalities such as Al Jolson and Fanny Brice, or Broadway composers such as Victor Herbert gave that tune a special identity that increased its popularity. In addition, music publishers, such as Max Dreyfus, were major power brokers in the popular music industry, yielding the ability to make a song into a hit, and continued to be influential through the first half of the twentieth century.

Author(s):  
Robert A. Rothstein

This chapter highlights the 28th Street, between Fifth and Sixth Avenues in Manhattan, that became the home of several music publishers. It looks into the various accounts of how 28th Street came to be called “Tin Pan Alley,” pointing out the observation that the pianos played by song “pluggers” produced a cacophony reminiscent of the clatter of tin pans. It also mentions how the name “Tin Pan Alley” was eventually used as a metonym for the American popular-music industry. The chapter explores the pre-eminent role of Jewish composers, poets, songwriters, and performers in the Polish popular music industry of the 1920s and 1930s. It also focuses on Adam Aston, who was credited with popularizing the first Polish rumba, and Mieczysław Fogg, the most popular Polish singer of the twentieth century.


Popular Music ◽  
1990 ◽  
Vol 9 (3) ◽  
pp. 275-290 ◽  
Author(s):  
Mark Fenster

In the early- and mid-1960s, as mainstream popular music began to reach and exploit the growing youth market, the country music genre was going through a number of important transformations (see Malone 1985; Hemphill 1970). During this period the country music industry, including record companies, recording studios, managing and booking agents, music publishers and musicians, was becoming more fully consolidated in Nashville. In addition, a different kind of dominant sound was beginning to coalesce, based on a more ‘uptown’ feel and intended for a more cosmopolitan audience accustomed to mainstream, adult pop music. The beat and whine of the honky-tonk song, as epitomised by the rural twang in the music of Hank Williams, Lefty Frizzell and Webb Pierce, was being replaced as the dominant country music sound by the smooth and urbane ballad styles of Eddy Arnold, Jim Reeves and Patsy Cline. This shift was both caused by and helped to foster the development of a steady set of studio musicians who would appear on thousands of country recordings per year. The musical style that coalesced in Nashville studios through the regular collaboration of these musicians and the record label producers who loosely arranged them became known as the ‘Nashville Sound’, a marketable and identifiable name for a particular set of musical conventions. This sound, nearly as similar to Rosemary Clooney as it was to Hank Williams, called into question the generic boundaries between ‘country’ music and mainstream ‘pop’ music.


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